第38届东京电影节开幕第一天，《地母》率先拉开了主竞赛单元入围影片放映的帷幕。这是女主角范冰冰继《观音山》获得影后之后，时隔15年再度携作品来到东京电影节。映后交流结束之后，她朝观众席深深地鞠了一躬，能够明显听到她声音里的哽咽。
《地母》是张吉安的第四部长片，他在映后交流中表达到，这本是他计划中的第7或8部，但是范冰冰的突然造访让张吉安改变了主意。范冰冰对他说，如果我们合作，你大可以“摧毁”我的脸。
看过《地母》之后不难想象它为何原本被张吉安后置，因为影片也像大地一样，承载着繁复的主题：小家庭的过往、大村落的安康、人的妄念如何跟超自然的巫术交织、土地的变迁又将如何改变世代人的命运。
范冰冰饰演“凤音”是两个孩子的母亲，更是缉凶捉邪的“音大师”，整片村落的母亲。但是抛开这所有，她更是一个深沉的爱人，爱到无法放手，无法承受失去。
“地母“二字，欲戴神冠必承其重。当范冰冰完成形象、语言、气质、情感等诸多关卡任务的时候，影后便不再像费力垫脚需要够到的东西，而理应自然地跟随其后。
1:48是什么
3:31凤音大师的巫术之力
6:28跨越一个世纪的历史背景
7:45帮老太打官司激发的三重叙事作用
10:39由神而人
13:21为什么
13:32张吉安的三重创作特征因素：成长/履历/兴趣
20:31片尾曲《布秧》的双人合奏
23:12 对冰冰的表演分析
24:30扮丑还得特效化妆？
29:23怎么样
30:02张吉安的突破和变化
31:17艰巨的表演任务
32:23应该如何看待影后的奖项可能？
Shownotes in English:
On the opening day of the 38th Tokyo International Film Festival, Mother Bhumi kicked off the screenings of films in the main competition section. This marked actress Fan Bingbing's return to the Tokyo Film Festival after 15 years, following her Best Actress win for Buddha Mountain. After the post-screening Q&A, she bowed deeply to the audience, her voice clearly choked with emotion.
Mother Bhumi marks Keat Aun Chong's fourth feature film. During the Q&A, he revealed that it was originally slated to be his seventh or eighth project, but Fan Bingbing's unexpected visit prompted him to change his mind. Fan told him, “If we collaborate, you can go ahead and ‘destroy’ my face.”
After watching Mother Bhumi, it's easy to understand why Chong initially postponed it. Like the earth itself, the film bears the weight of complex themes: the past of a small family, the well-being of a large village, how human delusions intertwine with supernatural witchcraft, and how the transformation of the land reshapes the destinies of generations.
Fan Bingbing portrays Feng Yin—a mother of two, the “Master Im” who hunts down evil spirits, and the village's maternal figure. Yet beyond these roles, she is a profoundly devoted lover, whose love is so deep she cannot let go, cannot bear loss.
The title Mother Bhumi carries immense weight—one must bear its burden to wear its crown. When Fan Bingbing mastered every aspect of her character—appearance, speech, demeanor, and emotion—the title of Best Actress no longer felt like something she had to strain to reach. Instead, it naturally followed in her wake.
1:48 What is it?
3:31 Master Im's Witchcraft Powers
6:28 A Century-Spanning Historical Context
7:45 The Triple Narrative Effect Sparked by Defending the Old Lady's Case
10:39 From God to Human
13:21 Why?
13:32 Keat Aun Chong's Triple Creative Characteristics: Growth/Experience/Interest
20:31 The duet performance of the closing theme
23:12 Analysis of Bingbing's performance
24:30 Requiring special effects makeup for comedic roles?
29:23 How about it?
30:02 Keat Aun Chong's breakthrough and transformation
31:17 The demanding acting challenge
32:23 How should we view the potential for a Best Actress award?